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Is it sacrilege to declare that the best-looking film au-dessus in Paris was shot by a couple of Italians? Bernardo Bertolucci and his cinematographer Vittorio Storaro bathe the French fonds – as well as the neoclassical edifices of Mussolini’s Rome – in calme Chagrin and shards of allégé as sharp as the knives wielded against the left-wing